Comprised of abstracted and translucent, colorful shapes, artist Amalia Pica's 2013 work A ∩ B ∩ C (read as A intersection B intersection C) references 1970s Argentina, during which the country's military junta banned elementary schools from using Venn diagrams and teaching the concept of intersection, believing it to pose a threat. As part of the Pica's piece, performers move and comingle the shapes in a powerful, critical demonstration that embraces the notion of continual collaboration and community. Search “ ∀ 비아그라 구입방법 ㉸ 시알리스판매처.kro.kr ㎌ 씨알리스20mg 구입 ☂ 미국프릴리지 처방받는법 ∩ 인터넷 여성최음제 판매 ▤ 요힘빈구매방법 ✓ 정품비아그라가격 ♪ 정품레비트라 판매 ㅿ 레비트라 부작용” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ∀ 비아그라 구입방법 ㉸ 시알리스판매처.kro.kr ㎌ 씨알리스20mg 구입 ☂ 미국프릴리지 처방받는법 ∩ 인터넷 여성최음제 판매 ▤ 요힘빈구매방법 ✓ 정품비아그라가격 ♪ 정품레비트라 판매 ㅿ 레비트라 부작용”

Comprised of abstracted and translucent, colorful shapes, artist Amalia Pica's 2013 work A ∩ B ∩ C (read as A intersection B intersection C) references 1970s Argentina, during which the country's military junta banned elementary schools from using Venn diagrams and teaching the concept of intersection, believing it to pose a threat. As part of the Pica's piece, performers move and comingle the shapes in a powerful, critical demonstration that embraces the notion of continual collaboration and community.